Andrei Tarkovsky"And is Chaplin—comedy? No: he is Chaplin, pure and simple; a unique phenomenon, never to be repeated. He is unadulterated hyperbole; but above all he stuns us at every moment of his screen existence with the truth of his hero’s behavior. In the most absurd situation Chaplin is completely natural; and that is why he is funny."
Buster Keaton"At his best, and Chaplin remained at his best for a long time, he was the greatest comedian that ever lived."
François Truffaut"My religion is cinema. I believe in Charlie Chaplin…"
Jean-Luc Godard"He is beyond praise because he is the greatest of all. What else can one say? The only filmmaker, anyway, to whom one can apply without misunderstanding that very misleading adjective, ‘humane’… Today one says Chaplin as one says Da Vinci—or rather Charlie, like Leonardo."
Jean Renoir"The master of masters, the filmmaker of filmmakers, for me is still Charlie Chaplin. He has done everything in his films—script, direction, setting, production, performance and even the music… His films are not only examples of perfect unity, but all his work is one. One may say indeed of Chaplin that he has made only one film and that every facet of that film is a different enactment of the same profession of faith."
Jiri Menzel"All Chaplin’s early films assured me that the comedy can say in a grotesque way much more about people’s characters than serious films, which after a certain time fade away and became ridiculous. Good comedy is immortal."
Luis Buñuel"When I was young, the idea of an orgy was tremendously exciting. Charlie Chaplin once organized one in Hollywood for me and two Spanish friends, but when the three ravishing young women arrived from Pasadena, they immediately got into a tremendous argument over which one was going to get Chaplin, and in the end all three left in a huff."
Masaki Kobayashi"Last year I went to the Cannes Film Festival and met Charles Chaplin. They showed his works. I was deeply impressed by his greatness. His films, his methods and content, are modern and so contemporary; he is a great genius."
Ousmane Sembène"[Did other filmmakers teach you anything?] There was one, an old man whom I had the fortune to meet very old, Charlie Chaplin; he told me that everyone could do this job, but that it is very demanding… He was the only guy who you couldn’t see in bars, nightclubs, or at receptions. He told me one had to stay at home and work…”
Pier Paolo Pasolini"You can always feel underneath my love for Dreyer, Mizoguchi and Chaplin… I feel this mythic epicness in both Dreyer and Mizoguchi and Chaplin: all three see things from a point of view which is absolute, essential and in a certain way holy, reverential."
Satyajit Ray"If there is any name which can be said to symbolize cinema—it is Charlie Chaplin… I am sure Chaplin’s name will survive even if the cinema ceases to exist as a medium of artistic expression. Chaplin is truly immortal."
Stanley Kubrick"If something is really happening on the screen, it isn’t crucial how it’s shot. Chaplin had such a simple cinematic style that it was almost like I Love Lucy, but you were always hypnotized by what was going on, unaware of the essentially non-cinematic style. He frequently used cheap sets, routine lighting and so forth, but he made great films. His films will probably last longer than anyone else’s.”
Vittorio De Sica"Truly good films—like Chaplin’s—should stimulate as well as soothe, should appeal to the mind as well as to the senses, should kindle thought as well as the emotions."

Andrei Tarkovsky
"And is Chaplin—comedy? No: he is Chaplin, pure and simple; a unique phenomenon, never to be repeated. He is unadulterated hyperbole; but above all he stuns us at every moment of his screen existence with the truth of his hero’s behavior. In the most absurd situation Chaplin is completely natural; and that is why he is funny."

Buster Keaton
"At his best, and Chaplin remained at his best for a long time, he was the greatest comedian that ever lived."

François Truffaut
"My religion is cinema. I believe in Charlie Chaplin…"

Jean-Luc Godard
"He is beyond praise because he is the greatest of all. What else can one say? The only filmmaker, anyway, to whom one can apply without misunderstanding that very misleading adjective, ‘humane’… Today one says Chaplin as one says Da Vinci—or rather Charlie, like Leonardo."

Jean Renoir
"The master of masters, the filmmaker of filmmakers, for me is still Charlie Chaplin. He has done everything in his films—script, direction, setting, production, performance and even the music… His films are not only examples of perfect unity, but all his work is one. One may say indeed of Chaplin that he has made only one film and that every facet of that film is a different enactment of the same profession of faith."

Jiri Menzel
"All Chaplin’s early films assured me that the comedy can say in a grotesque way much more about people’s characters than serious films, which after a certain time fade away and became ridiculous. Good comedy is immortal."

Luis Buñuel
"When I was young, the idea of an orgy was tremendously exciting. Charlie Chaplin once organized one in Hollywood for me and two Spanish friends, but when the three ravishing young women arrived from Pasadena, they immediately got into a tremendous argument over which one was going to get Chaplin, and in the end all three left in a huff."

Masaki Kobayashi
"Last year I went to the Cannes Film Festival and met Charles Chaplin. They showed his works. I was deeply impressed by his greatness. His films, his methods and content, are modern and so contemporary; he is a great genius."

Ousmane Sembène
"[Did other filmmakers teach you anything?] There was one, an old man whom I had the fortune to meet very old, Charlie Chaplin; he told me that everyone could do this job, but that it is very demanding… He was the only guy who you couldn’t see in bars, nightclubs, or at receptions. He told me one had to stay at home and work…”

Pier Paolo Pasolini
"You can always feel underneath my love for Dreyer, Mizoguchi and Chaplin… I feel this mythic epicness in both Dreyer and Mizoguchi and Chaplin: all three see things from a point of view which is absolute, essential and in a certain way holy, reverential."

Satyajit Ray
"If there is any name which can be said to symbolize cinema—it is Charlie Chaplin… I am sure Chaplin’s name will survive even if the cinema ceases to exist as a medium of artistic expression. Chaplin is truly immortal."

Stanley Kubrick
"If something is really happening on the screen, it isn’t crucial how it’s shot. Chaplin had such a simple cinematic style that it was almost like I Love Lucy, but you were always hypnotized by what was going on, unaware of the essentially non-cinematic style. He frequently used cheap sets, routine lighting and so forth, but he made great films. His films will probably last longer than anyone else’s.”

Vittorio De Sica
"Truly good films—like Chaplin’s—should stimulate as well as soothe, should appeal to the mind as well as to the senses, should kindle thought as well as the emotions."


"The fact is, there’s an enigmatic relationship between Max and myself. He has meant a tremendous amount to me. Stravinsky once said something good. I heard Blomdahl and him discussing Alban Berg’s Lulu. They were discussing a singer. Stravinsky said she was a bad Lulu, because she was so vulgar. But then Blomdahl, as I remember it, said: ‘But Lulu’s the vulgarest female alive.’ And Stravinsky said: ‘Yes, and that’s why she must be played by an actress who hasn’t a trace of vulgarity in her—but can play it.’ I suppose that’s exactly what I find in Max von Sydow. As an actor, Max is sound through and through. Robust. Technically durable. If I’d had a psychopath to present these deeply psychopathic roles, it would have been unbearable. It’s a question of acting the part of a broken man, not of being him. The sort of exhibitionism in this respect which is all the rage just now will pass over, I think. By and by people will regain their feeling for the subtle detachment which often exists between Max and my madmen.”
— Ingmar Bergman | 1968
"Mr. Bergman was a man of great working discipline. He forced everyone to concentrate when it was important. No disturbing noise during rehearsal. A code of silence. But in between, when [the camera and lighting] was being changed and re-rigged, there were a lot of laughs and a lot of fun. He had a great sense of humor. He had a talent of making people feel that they were participating in something important and something aspiring. He created teamwork. Mr. Bergman had a great imagination and saw the possibilities within every one of his actors, and he gave us great challenges. It was very inspiring. Whatever good I have done on screen I owe to him. I have learned discipline. I have learned concentration and the joy of acting."
— Max von Sydow | 2013

"The fact is, there’s an enigmatic relationship between Max and myself. He has meant a tremendous amount to me. Stravinsky once said something good. I heard Blomdahl and him discussing Alban Berg’s Lulu. They were discussing a singer. Stravinsky said she was a bad Lulu, because she was so vulgar. But then Blomdahl, as I remember it, said: ‘But Lulu’s the vulgarest female alive.’ And Stravinsky said: ‘Yes, and that’s why she must be played by an actress who hasn’t a trace of vulgarity in her—but can play it.’ I suppose that’s exactly what I find in Max von Sydow. As an actor, Max is sound through and through. Robust. Technically durable. If I’d had a psychopath to present these deeply psychopathic roles, it would have been unbearable. It’s a question of acting the part of a broken man, not of being him. The sort of exhibitionism in this respect which is all the rage just now will pass over, I think. By and by people will regain their feeling for the subtle detachment which often exists between Max and my madmen.”

Ingmar Bergman | 1968

"Mr. Bergman was a man of great working discipline. He forced everyone to concentrate when it was important. No disturbing noise during rehearsal. A code of silence. But in between, when [the camera and lighting] was being changed and re-rigged, there were a lot of laughs and a lot of fun. He had a great sense of humor. He had a talent of making people feel that they were participating in something important and something aspiring. He created teamwork. Mr. Bergman had a great imagination and saw the possibilities within every one of his actors, and he gave us great challenges. It was very inspiring. Whatever good I have done on screen I owe to him. I have learned discipline. I have learned concentration and the joy of acting."

Max von Sydow | 2013


"My films are not a personal expression but a prayer. When I make a film, it’s like a holy day. As if I were lighting a candle in front of an icon, or placing a bouquet of flowers before it. The spectator always ends up by understanding when you are sincere in what you are telling him. I don’t invent any language to appear simpler, stupider, or smarter. A lack of honesty would destroy the dialogue. Time has worked for me. When people understood that I was speaking a natural language, that I wasn’t pretending, that I didn’t take them for imbeciles, that I only say what I think, then they became interested in what I was doing."
"Given the competition with commercial cinema, a director has a particular responsibility towards his audiences. I mean by this that because of cinema’s unique power to affect an auditorium—in the identification of the screen with life—the most meaningless, unreal commercial film can have just the same kind of magical effect on the uncritical and uneducated cinema-goer as that derived by his discerning counterpart from a real film. The tragic and crucial difference is that if art can stimulate emotions and ideas, mass-appeal cinema, because of its easy, irresistible effect, extinguishes all traces of thought and feeling irrevocably. People cease to feel any need for the beautiful or the spiritual, and consume films like bottles of Coca-Cola.”
Andrei TarkovskyApril 4, 1932 — December 29, 1986

"My films are not a personal expression but a prayer. When I make a film, it’s like a holy day. As if I were lighting a candle in front of an icon, or placing a bouquet of flowers before it. The spectator always ends up by understanding when you are sincere in what you are telling him. I don’t invent any language to appear simpler, stupider, or smarter. A lack of honesty would destroy the dialogue. Time has worked for me. When people understood that I was speaking a natural language, that I wasn’t pretending, that I didn’t take them for imbeciles, that I only say what I think, then they became interested in what I was doing."

"Given the competition with commercial cinema, a director has a particular responsibility towards his audiences. I mean by this that because of cinema’s unique power to affect an auditorium—in the identification of the screen with life—the most meaningless, unreal commercial film can have just the same kind of magical effect on the uncritical and uneducated cinema-goer as that derived by his discerning counterpart from a real film. The tragic and crucial difference is that if art can stimulate emotions and ideas, mass-appeal cinema, because of its easy, irresistible effect, extinguishes all traces of thought and feeling irrevocably. People cease to feel any need for the beautiful or the spiritual, and consume films like bottles of Coca-Cola.”

Andrei Tarkovsky
April 4, 1932 — December 29, 1986

"I think that in order to find reality, each must search for his own universe, look for the details that contribute to this reality that one feels under the surface of things. To be an artist means to search, to find and look at these realities. To be an artist means never to look away."

Akira Kurosawa
March 23, 1910 — September 6, 1998

03 / 23 / 2014 3159   originally from kurosawa-akira   via kurosawa-akira

"Somebody said I’m ‘the king of venereal horror,’ to which I always say: Well, it’s a very small kingdom, but it’s mine.” — David Cronenberg

"Somebody said I’m ‘the king of venereal horror,’ to which I always say: Well, it’s a very small kingdom, but it’s mine.” — David Cronenberg


"Glauber Rocha I met over the years, then I started making films—there’s no doubt Antonio das Mortes had a major impact on Mean Streets and on Raging Bull. On Raging Bull we put in some Brazilian music in homage to Glauber, there’s a couple of pieces of music in there. In any event, I think the last time I saw him was in Venice, 1980. But before that, Tom Luddy brought him over—I had a small house in Los Angeles—and we had a dinner. It was Tom Luddy, myself, and Glauber, and I showed him The Big Shave, a short I had made. And we looked at a John Ford film, The Horse Soldiers; not a great John Ford film, but he liked Ford and he liked westerns he told me.”
"[On his favorite of Rocha’s films…] I think it’s Antonio, but I go back and forth. There’s Land in Anguish and Barravento, but Antonio is very much the one I keep checking back with, I keep showing to people—if I think they deserve it. Because sometimes some people are gone, some people are like zombies. They have no more feeling or something, I don’t know, and I think it’s good to show it to people who will… you know it might help them in their work. Even if they reject it, it’s something for them to have a reaction to, rather than what’s being presented today. But, no, I think it’s Antonio, I go back and forth, but the music is always in my head and I know it very well. It’s fresh, it’s new. It doesn’t cater to tastes of the box office, I mean the box office in a bad way, you know, of a traditional, ‘OK, now we’re going to sit you down and tell you a nice story.’ This punches you in the face and wakes you up, it opens your eyes. And that’s what you need today, more than ever.” — Martin Scorsese on Glauber Rocha

"Glauber Rocha I met over the years, then I started making films—there’s no doubt Antonio das Mortes had a major impact on Mean Streets and on Raging Bull. On Raging Bull we put in some Brazilian music in homage to Glauber, there’s a couple of pieces of music in there. In any event, I think the last time I saw him was in Venice, 1980. But before that, Tom Luddy brought him over—I had a small house in Los Angeles—and we had a dinner. It was Tom Luddy, myself, and Glauber, and I showed him The Big Shave, a short I had made. And we looked at a John Ford film, The Horse Soldiers; not a great John Ford film, but he liked Ford and he liked westerns he told me.”

"[On his favorite of Rocha’s films…] I think it’s Antonio, but I go back and forth. There’s Land in Anguish and Barravento, but Antonio is very much the one I keep checking back with, I keep showing to people—if I think they deserve it. Because sometimes some people are gone, some people are like zombies. They have no more feeling or something, I don’t know, and I think it’s good to show it to people who will… you know it might help them in their work. Even if they reject it, it’s something for them to have a reaction to, rather than what’s being presented today. But, no, I think it’s Antonio, I go back and forth, but the music is always in my head and I know it very well. It’s fresh, it’s new. It doesn’t cater to tastes of the box office, I mean the box office in a bad way, you know, of a traditional, ‘OK, now we’re going to sit you down and tell you a nice story.’ This punches you in the face and wakes you up, it opens your eyes. And that’s what you need today, more than ever.” — Martin Scorsese on Glauber Rocha

Accattone was very important for me because it rarely happens that you get to witness the invention of a language: what Pasolini did was truly an invention because he had no significant experience of the cinema he could draw on. At the time, the only film he really liked was Dreyer’s Joan of Arc. It was only later that he began going to the movies more often. So, to repeat something I’ve said many times, the first day that Pasolini made a tracking shot, I had the feeling I was watching the first tracking shot in the history of film.” — Bernardo Bertolucci

Once, I asked Pier Paolo, “Which do you think is the most important of your films?” He answered, “Ninetto. Of all the films I’ve made, none is better or worse. I’m like a mother who has many children. They’re all my children. I can’t love one more than the others. I love them all the same way.” — Ninetto Davoli


"I am a materialist; however, that doesn’t mean I deny the imagination, fantasy, or even that certain unexplainable things can exist. Rationally, I don’t believe a handless man can grow new hands, but I can act as though I believed it, because I’m interested in what comes afterwards. Besides, I am working in cinema, which is a machine that manufactures miracles. […] As inexplicable as the accidents that set it off, our imagination is a crucial privilege. I’ve tried my whole life simply to accept the images that present themselves to me without trying to analyze them… Some analysts—in despair, I suppose—have declared me ‘unanalyzable,’ as if I belonged to some other species or had come from another planet (which is always possible, of course). At my age, I let them say whatever they want. I still have my imagination, and in its impregnable innocence it will keep me going until the end of my days. All this compulsion to ‘understand’ everything fills me with horror. I love the unexpected more and more the older I get…"
Luis BuñuelFebruary 22, 1900 — July 29, 1983

"I am a materialist; however, that doesn’t mean I deny the imagination, fantasy, or even that certain unexplainable things can exist. Rationally, I don’t believe a handless man can grow new hands, but I can act as though I believed it, because I’m interested in what comes afterwards. Besides, I am working in cinema, which is a machine that manufactures miracles. […] As inexplicable as the accidents that set it off, our imagination is a crucial privilege. I’ve tried my whole life simply to accept the images that present themselves to me without trying to analyze them… Some analysts—in despair, I suppose—have declared me ‘unanalyzable,’ as if I belonged to some other species or had come from another planet (which is always possible, of course). At my age, I let them say whatever they want. I still have my imagination, and in its impregnable innocence it will keep me going until the end of my days. All this compulsion to ‘understand’ everything fills me with horror. I love the unexpected more and more the older I get…"

Luis Buñuel
February 22, 1900 — July 29, 1983


"It’s the doing that’s the important thing. I equate film-making with sandcastles. You get a bunch of mates together and go down to the beach and build a great sandcastle. You sit back and have a beer, the tide comes in, and in twenty minutes it’s just smooth sand. That structure you made is in everybody’s memories, and that’s it. You all start walking home, and someone says ‘Are you going to come back next Saturday and build another one?’ And another guy says, ‘Well, OK, but I’ll do moats this time, not turrets!’ But that, for me, is the real joy of it all, that it’s just fun, and nothing else… If I look back at all my work, it all seems like yesterday. I can’t imagine how all this time got away. All of it is basically the same; none of it comes from any brilliance. It comes from enthusiasm, a little bit of ego and tenacity. It’s been such a gift to do any of this."
Robert AltmanFebruary 20, 1925 — November 20, 2006

"It’s the doing that’s the important thing. I equate film-making with sandcastles. You get a bunch of mates together and go down to the beach and build a great sandcastle. You sit back and have a beer, the tide comes in, and in twenty minutes it’s just smooth sand. That structure you made is in everybody’s memories, and that’s it. You all start walking home, and someone says ‘Are you going to come back next Saturday and build another one?’ And another guy says, ‘Well, OK, but I’ll do moats this time, not turrets!’ But that, for me, is the real joy of it all, that it’s just fun, and nothing else… If I look back at all my work, it all seems like yesterday. I can’t imagine how all this time got away. All of it is basically the same; none of it comes from any brilliance. It comes from enthusiasm, a little bit of ego and tenacity. It’s been such a gift to do any of this."

Robert Altman
February 20, 1925 — November 20, 2006

"There is a certain resemblance between a work of art and a person. Just as one can talk about a person’s soul, one can also talk about the work of art’s soul, its personality. The soul is shown through the style, which is the artist’s way of giving expression to his perception of the material. The style is important in attaching inspiration to artistic form. Through the style, the artist molds the many details that make it whole. Through style, he gets others to see the material through his eyes."

Carl Theodor Dreyer
February 3, 1889 — March 20, 1968